Monthly Archives: April 2021

Itinerant (adj)

It must have popped up as a Word of the Day at Merriam-Webster at some point, so here is a context clues on the adjective itinerant.

This is, I think, probably a word educated people should know and be able to use. For high school students, it will connect well with the noun itinerary, which probably turns up in a variety of places like material about the Lewis and Clark expedition or a popular music group’s tour of the United States or, indeed, the world. Before automated digital mapping, I’ll hazard a guess that itinerary turned up in common usage more than it does now. Has itinerant suffered the same fate (if indeed itinerary has)? That’s an interesting question that could yield interesting answers to an interested student.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Nathan M. Pusey on Staying Abreast of Things

“We live in a time of such rapid change and growth of knowledge that only who is in a fundamental sense a scholar—that is, a person who continues to learn and inquire—can hope to keep pace, let alone play the role of guide.”

Nathan M. Pusey, The Age of the Scholar (1963)

Excerpted from: Howe, Randy, ed. The Quotable Teacher. Guilford, CT: The Lyons Press, 2003.

The Weekly Text, April 16, 2021: A Lesson Plan on the Largest Seas from The Order of Things

Here is a lesson plan on the largest seas along with its accompanying combined reading and comprehension worksheet.

Like the other lessons under the rubric of The Order of Things by Barbara Ann Kipfer, this is a short lesson with plenty of room (and formatted in Microsoft Word for just that purpose) for expansion and adaptation. There’s an excursus on this material, arranged as a unit of 50 lessons (for now–it will inevitably expand when at last I return to classroom teaching) on the “About Posts & Texts” page on this site. I conceived and engineered these materials to use with students with relatively low levels of literacy and/or numeracy; it gives such students some structured materials to practice operating with two symbolic systems at the same time, namely words and numbers.

Anyway, over time, I’d like to continue building this unit, and then develop from it scaffolded, topic-specific subunits that respond to student interest, work to build literacy and numeracy, and help students feel confident in their ability to deal with what might once have seemed like insurmountably complicated material to them. What do you think?

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

3 Emblems Within a Crown

“Power * Legitimacy * Victory

The Norman conqueror William I wore his crown three times each year: at Winchester at Easter, Westminster at Whitsuntide and at midwinter at Gloucester. But, as Shakespeare tells us, ‘uneasy lies the head that wears the crown.’ For the crown stands for the three emblems of power, legitimacy, and victory, but also for an ordained blood sacrifice as epitomized by the crown of thorns.

As an icon of power the crown has numerous lines of descent: the double crowns worn by the pharaohs of Egypt, the laurel wreaths of victory awarded to Greek heroes (and turned into the finest gold for Greek kings), the jewel-studded diadem worn on the brow by Persian and Hellenistic monarchs. The truest line of descent for the Western crown seems to have been the Greek radiant crown—Lucian’schaplet with sunbeams’—which was placed on statues of the sun god and which Constantine the Great co-opted in his fusing of the cult of the unconquered sun to the newly formed symbolism of a Christian emperor.”

Excerpted from: Rogerson, Barnaby. Rogerson’s Book of Numbers: The Culture of Numbers–from 1,001 Nights to the Seven Wonders of the World. New York: Picador, 2013.

Cultural Literacy: Dark Ages

Here is a Cultural Literacy worksheet on the Dark Ages.

In posting this document, I understand that I’m dealing with a contested term. In fact, in the nineteenth and twentieth centuries, as the period became better understood, historians began restricting its use to the Early Middle Ages, generally the first few centuries following the fall of Rome. When I was teaching global studies in New York, one of the concepts that was chronically overlooked while my co-teacher droned on in a recitation of decontextualized historical facts was the difference between periods of intellectual enlightenment and intellectual repression–indeed, the active promotion of ignorance and superstition.

If one looks at intellectual history, this oscillation between lightness and darkness, as Petrarch framed it, recurs fairly regularly (in fact, we’re arguably in the middle of such a period as I write this). I always thought that in teaching global studies, we ought to use the trial and death of Socrates as an illustration of the contest between intellectual freedom and the superstition and ignorance which opposes it. Once we accomplished that, we can cite this phenomenon everytime it expresses itself in history. It would make introducing the Carolingian Renaissance, the Renaissance itself, and the Enlightenment (and its antithesis, Romanticism) a simpler and deeper conceptual endeavor at once. In United States history, this dynamic expresses itself, I submit, in everything from the First and Second Great Awakenings to the McCarthy Era.

And we end up with those big concepts in historical inquiry that Claude Levi-Strauss called binary oppositions: faith and reason, law and anarchy, science and religion, knowledge and ignorance, and so forth. Those pairs, I think, are what Grant Wiggins and Jay McTighe had in mind when they talked about identifying (and helping students to understand) “big ideas” in instructional planning.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Term of Art: Abstract

“Abstract, (noun) A text summarizing the matter or principal points of a book, article, record, or speech, especially of an official or technical document; abbreviated or concentrated version; condensation. Noun: abstractor; Verb: abstract.”

Excerpted from: Grambs, David. The Random House Dictionary for Writers and Readers. New York: Random House, 1990.

A Concluding Assessment Lesson on Adjectives

If you search “lesson plan on adjectives” on this blog, you will find that there are a total of 11 lesson plans dealing with this part of speech; here is the concluding assessment lesson plan.

This lesson opens in my classroom with this Everyday Edit worksheet on Lucy Cousins’ Maisy books–and if your students enjoy the satisfaction of completing these exercises in correcting grammar, style, and spelling in another person’s prose (mine generally have), you can find a yearlong supply for download at no charge from the good people at Education World. This lesson generally extends across two days, so here is a Cultural Literacy worksheet on malapropisms. Finally, here is the structured worksheet that closely follows the sequence of the 11 lessons that comprise this unit and serves as their concluding assessment.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Rotten Reviews: The Wapshot Scandal

Fatally flawed.

Hilary Corke, New Republic

Excerpted from: Barnard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.    

Skyscrapers

Here is a reading on skyscrapers along with its accompanying vocabulary-building and comprehension worksheet

If memory serves, I wrote this, along with some other materials, for a student who possessed a considerable interest, bordering on obsession, with tall buildings. Like most of the materials based on Intellectual Devotional readings you’ll find on this site, this is a short but thorough general introduction to the topic. Keep an eye on it, though: this is one of those articles in which information can quickly go out of date. Indeed, I have revised this reading a couple of times as buildings get taller and taller.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Allegory

Allegory: A series of symbols existing harmoniously in a larger system of meaning. While a symbol most often takes the place of a letter, word, or image, such as the cross as a symbol of Christianity, allegory takes symbolism one step further by using images and/or stories to stand in for other ideas or abstract concepts. Picasso’s Guernica, rooted in events from the Spanish Civil War, works as an allegory for total war. (Disputed symbols include the wounded horse and the bull, representing Republican Spain and fascism, respectively.) From the mid-1950s to the mid-1970s, the primacy of abstract art made the use of allegory seem out of date. But with the advent of postmodernism and a return to figurative and narrative works, allegory has again flourished. Modernists Giorgio de Chirico, Max Ernst, and Jose Clemente Orozco make use of allegory, as do postmodernists Anselm Kiefer and Francisco Clemente.

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.